however, but merely for the purpose of extending even to flower arrangement the application of the law that nature delights in balance, and that she contrives it primarily by the association of correlated pairs. If the study of Japanese ike-bana be approached with a constant recollection of its basic rule, namely, that a state of vigorous vitality and actual growth must always be simulated, the elaborations of the art became easy to comprehend. Evidently the first requirement of such a rule is that the floral or leafy sprays should spring naturally and strongly from the vase containing them, and out of that necessity there grew various forms of “holder,” as well as a series of directions for adapting each arrangement of flowers or branches to the shape of the vase and to its position in a room. Following the indications of nature, the next point was to determine what combinations of plants or flowers were permissible, and also to fix those appropriate for each reason. Here, however, the influence of tradition and even of superstition made itself felt, lucky or unlucky attributes being assigned to certain flowers and trees, partly in consequence of historical or mythological associations, and partly because of poisonous properties supposed to belong to them. Every one having even a passing acquaintance with Japanese decorative art is familiar with the trio, pine, bamboo, and plum, so often found in combination
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